Matthew Sprizzo

​New York-based American soprano THERESA SANTIAGO has attracted international attention for her highly individual style and beautiful, seamlessly integrated lyric soprano voice.    Issued on the Musical Heritage label is her first solo CD featuring works by Spanish composers. She has sung recitals at London’s Wigmore Hall, New York’s Alice Tully Hall and Frick Collection, Washington, D.C’s Kennedy Center, Boston’s Gardner Museum and on the distinguished Philadelphia Chamber Music Society and Detroit Pro Musica series.

Opera remains a special love, and she has enjoyed particular success as Mimì in Puccini’s La Bohème, a role for which she was engaged by the New York City, San Francisco and Piedmont Operas, Opera Omaha and the New Jersey Symphony.  Other Puccini roles include Liù in Turandot with Opera Colorado and the Virginia Opera, Magda in La Rondine at the Washington Opera, and the title role of Suor Angelica at the Longview Opera.  She has also sung Pamina in Mozart’s The Magic Flute with the Los Angeles Philharmonic at the Hollywood Bowl, as well as at Michigan Opera Theatre and the Washington and Toledo Operas.  She has also appeared at Opera Theater of St. Louis and the Connecticut Grand Opera.

An equally accomplished concert singer, Ms. Santiago has been guest soloist with the Hong Kong Philharmonic (Schubert’s Salve Regina), New York Philharmonic (Mendelssohn’s Elijah), Colorado Symphony (Berlioz’ Les nuits d’été and Poulenc’s Gloria), Seattle Symphony (Mendelssohn’s “Lobgesang” Symphony), American Symphony (Rachmaninoff’s The Bells), Cincinnati Symphony (Barber’s Knoxville: Summer of 1915, Mahler’s Fourth Symphony and a program of Verdi Arias), Louisville Orchestra (Elijah), Phoenix Symphony (Brahms Requiem), Saint Paul Chamber Orchestra (Bach’s B Minor Mass) and Puerto Rico Symphony (Haydn’s Die Schöpfung and Bach’s Magnificat). She also performed a Stravinsky chamber program with members of the New World Symphony. Among the distinguished conductors with whom she has collaborated are David Atherton, Leon Botstein, Jesus Lopez-Cobos, John DeMain, Klaus Donath, Hal France, Heinz Fricke, Eugene Kohn, Kurt Masur, Hermann Michael, Gerard Schwarz, Uri Segal, Duain Wolfe and Hugh Wolff.  Recent highlights include Poulenc’s Gloria with the Mississippi Symphony, a Puccini program with the Queens Symphony, Vaughan-Williams’ A Sea Symphony with the Illinois Symphony, the Verdi Requiem with the Santa Rosa Symphony and Orlando Philharmonic and Concert Artists of Baltimore.   In addition she made her National Philharmonic debut in Bach's St. Matthew Passion, her Harrisburg Symphony debut in Vaughan-Williams' Dona nobis pacem and Beethoven's Ninth Symphony; and her Delaware Symphony debut in the Mozart Requiem.

Awards include placing first in the Naumburg Competition and prizes in the D’Angelo and Puccini Foundation Competitions. Ms. Santiago holds Bachelor’s and Master’s degrees from the Juilliard School.

Pamina in Mozart’s Die Zauberflöte at the Washington Opera:

“Aficionados interested in diva futures might think about investing in Theresa Santiago. This young soprano sang Pamina with appealing warmth, poignancy and control. Any singer who commands her kind of power and can still project fragile innocence can look forward to a big career.”
                                                                                                                                                                                           -The Baltimore Sun

Liù in Puccini’s Turandot at Opera Colorado:

"Soprano Theresa Santiago made the most of the small yet vital role of Liù, communicating her innocent power during a third-act aria of real subtlety and poignancy."
                                                                                                                                                                                         -The Denver Post

Verdi concert with the Cincinnati Symphony:
"And a rich experience it was, with soprano Theresa Santiago in three exquisitely sung arias from Verdi’s Shakespeare operas,…Ms. Santiago rendered Desdemona’s final scene from Otello in clear, sweet tones, superbly modulated from top to bottom."

                                                                                                                                                                                    -The Cincinnati Post

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